



x X 


/ \ 


X V V V V X V V V V V V V y -X y V 

— ^ ^ y y ^ r \ /% / \ A / ^ A / v A y ' / \ 

• ••••••••• •••••••«•• • 

^ y v y v y y v v v v v v v v v v v v >✓ v v 

.X^ A_Xt^/v/% X \ X% X% x% X^f’ % X% X% A X\ X % X% X v 4r\ X\ X ^ 

• • •••••• •. • • • • • • « • • • • • < 

z XXXXHX.KX.* x_x Xx x. x.'/. X xx 



Yyv'vyyYV'VvVWvVvYV v v~v 

A x ' A A A x\ A /\ A x\ A A A A A A A x a x\ A 

»••••••••••• • ••••••« • < 

\> y \> V y \> y y y y y y W y V/ y \y y y y y 

y v v v v y v y v y y y y v v v y v v v y 

,A A x\ x\ x\ x\ A_ A A x\ A A A*A A A A A x* 

• • • • • • • • • • • •• ••• •••« • 4 

> y y y V y y y y y \ . y y y y y y y \/ y w y 

Ax*> vx*v*x yy*x*x*x v v'xA/ x vV'v' 

• • •'•• • • *•. • • • •'• • • • •' • • • < 

/ y y y y y y y y y \.a> v v Vy .y y V V '/ v 
< A A A A./yA /\_A_/^4 A 

• •••" 


y y 

- V 



v A A A A A x\ A A A A A 

• « * • t « V « « • • •••• • • • • • f I 

f w w \y w ^/ V y y y y y y w y y y \x y y y y 
^ x\ A A AA/> /w x vA /v A A /* A A A A A A-A 

• ♦. • • • •. •. • • • •. •. • • • • X • • » 4 










Class -Z- ££d- 
BooIv2-3-^_ 


Gopyiight N° 


COPYRIGHT DEPOSIT. 

























































A PRINTED SPECIMEN 


OF THE 

CASLON OLD STYLE TYPE 




























































TyT~T 






tfc 

















































































































































































































































m 

© 


© 


© 


r*)\ 


ffjj 


© 


A PRINTED SPECIMEN 

OF 

Caslon Old Style 

TYPE 

WITH APPROPRIATE ORNAMENTS 

'Being the first of a series 
of books showing the many beautiful types 
in the composing-room of 

Redfield-Kendrick-Odell Co. 

\\ 

Printers and Map Makers 



3 11 WEST FORTY-THIRD STREET 
NEW YORK 




17/50 


COPYRIGHT I92I 

Redfield-Kendrick-Odell, Co., Inc. 
JA (jw Tork^ 



ft!.! 


no 


■ i I 


©CLA624082 


•'Via* 







THE STORY OF 



CASLON OLD STYLE 

ITS ORIGIN & REVIVAL 

AS LON has perhaps the most interesting 
biography of all type faces in general use. 
From first to last, the narrative of its birth, 
of its rise and fall and rediscovery, and of its 
present-day superabundant vitality is touched 
at every point with real human interest. Its history makes 
a fascinating page in the Romance of Typography. 

Though William Caslon, the man who gave the world 
this beautiful Roman letter,did not actually “beat his sword 
into a ploughshare,” he did something very like it. Starting 
in life as an engraver of gun-locks and barrels and making a 
conspicuous success at that difficult and semi-martial trade, 
he was fortunately induced to turn his talents to the cutting 
of English type faces instead, and proved so great a genius at 
his new profession that his charming old style types set the 
styles in English and American typography until nearly the 
close of the Eighteenth century. Thereafter for nearly fifty 
years his faces suffered an almost total eclipse by the modern 
Roman letter. Happily resurrected in 1843, they have 
since steadily grown in favor until today no printer would 
seriously attempt to do business without being plentifully 
supplied with the classic Caslon letter. 

Two hundred years ago printing was in a bad way in 
England. Whether due to the repressive and illiberal laws 



which had prevailed under the Stuarts, or to the lack of ideas 
and ideals of the type-makers themselves, type-founding 
was especially in a state of degeneracy. Such type as possessed 
any merit at all was imported from Holland, and even these 
Dutch faces had fallen away from the beauty of the Elzevirs. 

In this crisis a small group of famous London printers, 
among whom were William Bowyer and John Watts, cast¬ 
ing about for some one capable of raising the printing art out 
of the slough of despond in which it seemed hopelessly mired, 
hit upon William Caslon as the one likely to succeed. 
Then in the full flush of ambitious young manhood, the 
latter, who was born in the west of England in 1692, had 
added the making of bookbinders’ tools and stamps to his 
regular work of engraving gun-locks and barrels, and it 
was the fine workmanship of his bookbinders’ letters that 
convinced his printer friends of his ability to cut the type 
faces of which they were so desperately in need. 

Like many another who has achieved distinction in the 
world, Caslon began in a garret in Helmet Row, Old Street, 
London. There, with £500 which Bowyer, Watts and a 
third printer advanced him to make a start with, he set up 
in the business of type-founder in 1720. Success smiled 
upon him from the beginning. The exaCt sequence of events 
in his little establishment is somewhat befogged, but he 
seems to have cut in that first year a pica Roman and Italic 
and also to have made at the order of the Society for Pro¬ 
moting Christian Knowledge a fount of Arabic on English 
body for use in a Psalter and New Testament, which were 
published several years later. In 1722, it is related, he cut 


“the beautiful fount of English,’’which fouryears afterwards 
was used in the famous three-volume edition of the works 
of John Selden, the celebrated lawyer and antiquary. This 
“noble” fount, says Talbot Baines Reed, historian of English 
type-founding, “marked a distinCt turning-point in the 
career of English typography, which, from that time for¬ 
ward, entered on a course of brilliant regeneration.” 

By 1730 Caslon had so far justified the early hopes and 
expectations of the friends who had financially backed their 
faith in him that he had distanced all competitors, both in 
the excellence of his type faces and in the scope of their 
sales. The earliest of his broadside specimens which has 
come down to us, printed in 1734, displays thirty-eight 
founts, all except three of which were cut either by the 
master himself or under his close personal supervision. 

With popularity and success came the need for larger 
quarters and Caslon graduated from his garret first to Iron¬ 
monger Row, also in Old Street, and then to 22 and 23 
Chiswell Street, where the business he founded was con¬ 
ducted in the original building up to nine years ago, when 
it was torn down. By 1742, the year in which he took his 
oldest son, William II, into partnership with him, he had 
accumulated an independent fortune and his type faces were 
almost without opposition in Great Britain and America. 

The younger Caslon proved to be nearly as able a de¬ 
signer and founder of type as his father. Under his direction 
the business grew and prospered and added to its prestige. 
William Caslon, the elder, retired soon after 1750 to his 
country house near London, where he devoted his remain- 


ing years to music and books and to the hospitable enter¬ 
tainment of his friends. He died in i 766, at the age of 74, 
leaving the world of English typography vastly in his 
debt. His famous type foundry was conducted by his de¬ 
scendants until 1 873, when on the retirement of the last of 
the line, Henry W., due to ill-health which ended his life 
the next year, the business was continued for a purchaser 
by Thomas W. Smith, who later became its owner and took 
the name of Caslon-Smith. The ancient foundry, which in 
1920 celebrated its two hundredth anniversary, is now owned 
by three of his sons, who have assumed the name of Caslon. 

The strangest part of the story of Caslon type remains to 
be told. Despite its unbounded popularity for nearly the 
whole of the Eighteenth century Caslon old style Roman let¬ 
ter began to be superseded in the century’s closing years by 
the modern style Roman face introduced by Bodoni and 
modified by the Scotch type founders, and it rapidly fell 
into a state of total negledt. For nearly fifty years it was abso¬ 
lutely forgotten. That few expected that it would ever come 
back into use is proved by the fadt that type founders almost 
universally destroyed their old style punches and matrices. 
Caslon’s descendants, however, moved by a spirit of rever¬ 
ence for the work of their founder, carefully preserved the 
historic punches and matrices which had so lately revolution¬ 
ized the typographic art, and the time arrived when they 
were rewarded for their sentiment and providential foresight. 

In 1843 Charles Whittingham, the younger, of the fa¬ 
mous Chiswick Press, wanting a type face which in its style 
should harmonize with the text of a Seventeenth century 


novel—“The Diary of Lady Willoughby”—which he 
was about to print, sought out the Caslons and got them to 
cast for the book founts from the old style matrices. After this 
the use of the Caslon face slowly revived—so slowly, how¬ 
ever, that it was not until i 860 that the Caslon foundry re¬ 
stored any of the old style types to their specimen book. 

Whittingham’s good taste, nevertheless, had started the 
revival and the genius of William Caslon I was now destined 
for the second time to work a revolution in the printing of 
the English language. Gradually the foremost type founders 
of Great Britain joined the Caslons in casting the classic old 
style Roman letter and long before the end of the last century 
it had returned to a well-deserved popularity there. 

Yet it is in America rather than in England that Caslon 
has achieved its greatest success and it is in this country that 
this graceful and pleasing face is most appreciated and most 
used. A large group of the best American printers are agreed 
that it is one of the most admirable of all typefaces and they 
delight to interpret their art through its instrumentality. 

Still further identifying American typography with the 
classic type face which William Caslon has bestowed upon 
countless millions of English readers—past, present and 
future—there is the interesting fact that the type which 
has given him lasting fame was first named Caslon in this 
country in the year 1895. The American Type Founders 
Company so designated the historic face in its specimen 
book of that year. The Caslon type foundry itself adopted 
the name eighteen years later. 



























































































































































Ionson, a king amongst the English printers, is said on one occasion 
to have lodged in Amsterdam while a founder there was casting him ^300 
worth of type; and James, the only English founder whose business showed 
any vitality, owed his success chiefly, if not entirely, to the fadl that all his 
letter was the produdt of Dutch matrices; and even these, in his hands, 
were so indifferently cast as to be often as bad as English type. 

What was the reason for this lamentable decline—how far it was charge¬ 
able on the printer, how far on the founder, or how far both were the victims 
of that system of Star Chamber decrees, monopolies, patents, restraints and 
privileges which had characterised the illiberal days of the Stuarts—this is 
not the place to inquire. Nor, happily, are we called upon to speculate as 
to what would have been the consequence to English Typography of an 
uninterrupted prolongation of the malady under which it laboured. But it 
is necessary to remind ourselves of the critical nature of that malady in order 
to appreciate properly the providential circumstance which turned the atten¬ 
tion of William Caslon to type-founding, and thus served to avert from 
England the disgrace which threatened her. 

William Caslon was born at Halesowen in Shropshire in the year 1692. 
He served his apprenticeship to an engraver of gun-locks and barrels in 
London, and at the expiration of his term followed his trade in Vine Street, 
near the Minories. 

The ability he displayed in his art was conspicuous, and by no means 
confined to the mere ornamentation of gun-barrels—the chasing of silver 
and the designing of tools for bookbinders frequently occupying his atten¬ 
tion. While thus engaged some of his bookbinding punches were noticed 
for their neatness and accuracy by Mr. Watts, the eminent printer, who, 
fully alive to the present degenerate state of the typographical art in this 
country, was quick to recognise the possibility of raising it once more to its 
proper position. He accordingly encouraged Mr. Caslon to persevere in 
letter-cutting, promising him his personal support, and favouring him mean¬ 
while with introdu&ions to some of the leading printers of the day. 


IO POINT CASLON OLD STYLE 


Caslon Old Style—Roman 

SIX TO FOURTEEN POINT 


6 point Caslon Old Style 
ABOUT THE CASLON TYPE 

This article is reprinted from the specimen book issued by the Caslon Letter Foundry in England. 
Printing had reached a low ebb in England in the early years of the eighteenth century. A glance 
through any of the common public prints of the day, such, for instance, as official broadsides, politi¬ 
cal pamphlets, works of literature, or even Bibles, points to a depression and degeneration 

8 point Caslon Old Style 
SO MARKED THAT ONE IS 

tempted to believe that the art of Caxton and Pynson and Day was rapidly becoming lost 
in a wilderness of what a contemporary satirist terms “brown sheets and sorry letter.” 
With the exception of Oxford University, no foundry of the day was contributing anything 
towards the revival of good printing of the sixteenth century, or even towards the 

i o point Caslon Old Style 

MAINTENANCE OF SUCH A 

standard as did exist. And Oxford, as we have said, owed its best founts 
to gifts procured, almost entirely, from abroad. Grover and Andrews, the 
heritors of the old founders, originated little or nothing; and where their 

i 2 point Caslon Old Style 

EFFORTS WERE PUT 

into requisition (as in the case of Andrews’ attempt to cut 
the Anglo-Saxon for Miss Elstob’s Grammar) they failed. 
Scarcely a work with any pretension to fine printing was 

14 point Caslon Old Style 

THE IMPRESSION OF 

honest English type. Watson, the Scotch historian 
of printing, openly rebuked his brethren of the 
craft for not stocking their cases with dutch type. 










TV/T r. caslon established himself in a garret in Helmet 
Row, Old Street, and devoted himself with ardour 
to his new profession. An opportunity for distinguishing 
himself presented itself shortly afterwards. 

In the year 1720 the Society for Promoting Christian 
Knowledge acting on a suggestion made by Mr. Salomon 
Negri, a native of Damascus, and a distinguished Oriental 
scholar, “deemed it expedient to print for the Eastern 
Churches the New Testament and Psalter in the Arabic 
language for the benefit of the poor Christians in Pales¬ 
tine, Syria, Mesopotamia, Arabia and Egypt, the consti¬ 
tution of which countries allowed of no printing.” A new 
Arabic fount being required for the purpose, Mr. Caslon, 
whose reputation as a letter cutter appears already to have 
been known, was selected to cut it. This he did to the full 
satisfaction of his patrons, producing the elegant English 
Arabic which figures in his early specimens. The Society 
was, according to Rowe Mores, already possessed of a 
fount of Arabic cast from the Polyglot matrices in Grover’s 
foundry. But Caslon’s fount was preferred for the text, 
and in it appeared, in due time, first the Psalter in 1725, 
and afterwards the New Testament in 1727. 

“Mr. Caslon, after he had finished his Arabic fount, 
cut the letters of his own name at the bottom of a speci¬ 
men of the Arabic; and Mr. Palmer (the reputed author 
of Psalmanazar’s History of Printing), seeing this name, 
advised Mr. Caslon to complete the fount of Pica. Mr. 
Caslon did so; and as the performance exceeded the letter 
of the other founders of the time, Mr. Palmer—whose 
circumstances required credit with those who, by his ad¬ 
vice, were now obstructed (i.e. whose business was likely 
to suffer from this new rival)—repented having given the 
advice, discouraged Mr. Caslon from further progress. 


12 POINT CASLON OLD STYLE 


Caslon Old Style—Roman 

EIGHTEEN TO TWENTY-FOUR POINT 


18 point Caslon Old Style 

TONSON, A KING 

amongst the English printers, is said on 
one occasion to have lodged in Amster¬ 
dam while a founder there was casting him 

22 point Caslon Old Style 

THREE HUNDRED 

pounds worth of type; and James, 
the only English founder whose 
business showed any vitality, 126 

24 point Caslon Old Style 

OWED HIS 

success chiefly, if not entirely, 
to the fail that all his letter 
was the produil of Dutch 670 

SL -----9 












M r. caslon, disgusted, applied to Mr. Bowyer, 
under whose inspection he cut, in 1722, the 
beautiful fount of English (Roman) which was used in 
printing the edition of Selden’s Works in 1726.” 

Caslon’s excellent performance of this task may 
best be judged of by an inspection of this noble work, 
which remains conspicuous not only as the impres¬ 
sion of the first letter cast at the Caslon foundry, but 
as marking a distinCt turning-point in the career of 
English typography, which from that time forward 
entered on a course of brilliant regeneration. The 
Hebrew letter used in the Selden was also of Caslon’s 
cutting, and must therefore share with the English 
Roman the honour of a first place in the productions 
of his foundry. 

His next performance was a fount of Pica Coptic 
for Dr. Wilkins’s edition of the Pentateuch, a letter 
which Rowe Mores commends as superior to the 
Oxford Coptic in which Dr. Wilkins’s New Testa¬ 
ment had been printed in 1716. This fount Caslon 
also cut under the direction of Mr. Bowyer, his gen¬ 
erous patron, whom he always acknowledged as his 
master from whom he had learned his art. Caslon’s 
business, thus established, rapidly advanced in fame 
and excellence. Although at the outset it depended 
mainly on the support of his three chief patrons, it 
was soon able to stand alone and compete with the 
best houses in the trade. “It is difficult,” observes 


14 POINT CASLON OLD STYLE 




Caslon Old Style—Roman 

THIRTY TO FORTY-TWO POINT 

30 point Caslon Old Style 

MATRICES 
even these, in his hands, 
were so indifferently cast 


36 point Caslon Old Style 


TO OFTEN 
be as bad as English 
type. What was the 


42 point Caslon Old Style 


REASON 

for this decline 








s 


Qis/on Old Style—Italic 

SIX TO FOURTEEN POINT 

fr 


6 point Qaslon Old Style Italic 

HOW EAR IT WAS CHARGEABLE ON THE 

printer , how far on the founder , or how far both were the victims of that system of Star Chamber 
decrees , monopolies,patents, restraints and privileges which had characterised the illiberal days of 
the Stuarts—this is not the place to inquire. Nor , happily , are we called upon to speculate as to what 
would have been the consequence to English typography of an uninterrupted prolongation of the malady 


8 point Qaslon Old Style Italic 
UNDETQWHICH IT LAB 0 UTfJLD 

But it is necessary to remind ourselves of the critical nature of that malady in order to appre¬ 
ciate properly the providential circumstance which turned the attention of William Qaslon to 
type-founding, and thus served to avert from England the disgrace which threatened her. 
William Qaslon was born at Halesowen in Shropshire, in the year ib() 2 . He served his 


I o point Qaslon Old Style Italic 

^APPRENTICESHIP TO *AtNf 

engraver of gun-locks and barrels in London, and at the expiration of his 
term followed his trade in ‘Vine Street, near the QMinories. The ability he 
displayed in his art was conspicuous, and by no means confined to the mere 

1 2 point Qaslon Old Style Italic 

ORNAMENTATION OF 

gun-barrels—the chasing of silver and the designing of tools 
for bookbinders frequently occupying his attention. While 
thus engaged some of his bookbinding punches were noticed 

14 point Qaslon Old Style Italic 

FOIf THEIN FfEA TNESS 

and accuracy by fiMr. Watts, the eminent printer, who 
fully alive to the present degenerate state of the typo¬ 
graphical art in this country, was quick to recognize the 










(fusion Old Style—Italic 

EIGHTEEN TO TWENTY-FOUR POINT 
& 

18 point Qaslon Old Style Italic 

FOSSmiLITY OF 

raising it once more to its proper position. He 
accordingly encouraged FMir. Qaslon to con¬ 
tinue to persevere in his chosen work of letter¬ 
cutting, also promising him all his personal 


22 point Qaslon Old Style Italic 

PERSONAL 

support, and favouring him mean¬ 
while with introductions to some of the 
leading printers of the day. At bout the 


24 point Qatlon Old Style Italic 


SACME TlfME 

it is recorded that another great 
printer, the elder Eozvyer, u acci¬ 
dentally saw in the shop offhCr. 


Qaslon Old Style—Italic 

THIRTY TO FORTY-TWO POINT 

r? 

30 point Qaslon Old Style Italic 

T>AJQE L 

Erowne, a bookseller , near 
Temple Ear, the lettering 

3 6 point Qaslon Old Style Italic 

OF 800^ 

uncommonly neat and 
enquiring who the / 2 

42 point Qaslon Old Style Italic 

AR TIS T 

was by whom the 
letters were made . 




THE FOLLOWING SECTION 

SHOWS A PAGE OF 1 8 POINT ROMAN AND TWO PAGES 
OF ITALIC TYPES IN SIZES 8 TO 30 POINT 
IMPORTED DIRECT 

FROM THE CASLON LETTER FOUNDRY 
IN ENGLAND 




T present the theory and practice 
of letter-founding are not, as in 
his time, an ‘art and mystery,’ 
and efficient workmen in every 
branch are easily procured. He 
had not only to excel his com¬ 
petitors in his own particular branch of engraving 
the punches, which to him was probably the easiest 
part of his task, but to raise an establishment and 
cause his plans to be executed by ignorant and 
unpractised workmen. He had also to acquire for 
himself a knowledge of the practical and mechani¬ 
cal branches of the art, which require, indeed, 
little genius, but the most minute and painful 
attention to conduct successfully. The wishes and 
expectations of his patrons were fulfilled and ex¬ 
ceeded by his decided superiority over his domestic 
rivals and Batavian competitors. The importation 
of foreign types ceased; his founts were, in faCt, 
in such estimation as to be frequently, in their 
turn, exported to the Continent. 

In 1728 Mr. Caslon narrowly escaped com¬ 
mitting an error which might seriously have 



I 8 POINT CASLON OLD STYLE 















£ 

% 

Qaslon Old Style—Italic 

EIGHT TO FOURTEEN POINT 

8 point Qaslon Old Style Italic 

AS IT WAS HE HAT) THE AD VAOCT A QE 

of completing his specimens after his own plan, and impressing with the mark of his own 
genius every fount which bore his name. His fame in 1730 was such, that (as Ged, in his 
narrative of the invention of 'Block-Printing, states) he had already eclipsed most of his 
competitors,and had introduced hisfounts into some of the chief printing housesofthe metropolis 


X 
£ 
X 
£ 
X 
£ 
X 
£ 
X 
£ 
X 
£ 
% 
£ 
X 
£ 
X 
£ 
X 
£ 
X 
£ 
X 
£ 
X 
£ 
X 
£ 
X 
£ 
X 
£ 
X 
£ 
X 
£ 
X 
£ 
X 
£ 


1 o point Qaslon Old Style Italic 

JND EVE Of SECUPf'D THE 

custom of the fQng’s printers to the exclusion ofall others. Although Ged's nar¬ 
rative goes to show that Qaslon shared the skepticism of his contemporaries with 
regard to the utility of stereotyping, and was even ready to back his opinion with 
his money, it is satisfactory to observe that he was no party to the discreditable 

12 point Qaslon Old Style Italic 

TERfECUTIOPQTO WHICH 

that unfortunate inventor was subjected by other members of 
the craft. Indeed , the only successful experiment made by Qed 
appears to hope been cast from Qaslon s type. That the success 
of the new foundry was not achieved wholly without opposition 

14 point Qaslon Old Style Italic 

IS <iAP PATfENT FRO AH 

the following anecdote preserved by AMr. Sfichols, and 
told in connection with the account of Pi shop Hare's 
Hebrew Psalter, published by PoVoyer in 1733 * This 
work , it appears , had been originally intended to be 





Caslon Old Style—Italic 

EIGHTEEN TO THIRTY POINT 
% 


18 point Qaslon Old Style Italic 

TRINfTET) HT THE 

press of Taimer, with whom Qaslon , as we 
haDe seen , had already had dealings of a not 
altogether satisfactory character. The Bishop 
likewise insisted upon having some Roman 


2.4 point Qaslon Old Style Italic 

tANT) ITALIC 
types cast with some distinguishing 
mark , to direct his readers to the 
Hebrew letters they were designed to 

30 point Qaslon Old Style Italic 

1 ANSIVE 7 ^ 
and these required a new 
set of punches and matrices 
before they could be cast 






& 


pi tqp. sqp>. sqm. jgp, sqp. sqm. jgp* jnpi jgpi jnpi sq 

*L±<>u£)<±0£M, I^O^Am^O^jA M^-O^MtMJiO^A J^W>i-»4^CV<->i>4 $4^<-V*>4 



e@@ee@eei««ee««eeiieee 

5* 1 'X\ jJ "’*%• $ «_JZSi. ? 
86 8 £ # # $ ^ 



















Of this ‘Book of Caslon Old Style Type 
there have been printedfive hundred 
copies , of which this is 
Jfumber U 

































































A AAA 




A / 





S V 


0 005 835^19 3 

\f x y A/ V S 
\ /A A A A / 


/ V V x y w vv V V V V V V V 

r% A A A A A A A A A A A A A A A _ , . , 

• #•;*%» t r • t • # < i v i • • •: • t m 

►y w %/ V V w y y y yy y y y V y y V V V V V 

A A A A A A A A A A A A A^A A A A A A A A A 

# • • « “ - - --- - 



. ^ # • I f t • • • _ _ _ ^ _ 

/ V V V y y y y y y y y y y y ax ax y v 

A A A A A A A A A A A A 

• •••••• + •• • • • •««*•••« 

y y y y y \y y y \y y y y y y y >y y y y Ny y y 

\ A A^ A A A A A^ A /* A A A^ A A A A / - 

AVVvVvSV'MA’vWvV'A/V*'/ 

'• iXriV/ri■#«"'C«fr« • ♦•Vrt 

>/ v V V V V V V V V V V V V V V V V V V V V 

A A A A A A A A A A A A A A A A A A A A A A 

• • • i • • # ••#•#* + #•»• it • < 

y y y y yy \y y V y y y y V y y y y yy y 

rV XV XV JL X a XV XV XV X. /a XV X XV XV X Xa XV XV 

t t it iff t # t i • # t t t • t t t j 

/ V V V y V y v y y V y y y v/y y y y yy y 

A A XV A A A X* A A A A A A A A A X x XV XV XV X\ A 

• • • • 6 • •••.#• • • ♦. • • • 

/ y v V V V V V V V V V V V V v V V v V v v 

A Aa f % Xa f\ XV Xa Xa Xa A A A Xa Xa A Xa XV Xa Xa /« 

/VvVvVVVvVyVvVv y vVv # vV*v 

• # v # a * v • • • •( # v • • • •: ft i t < • • # 

y Ay Ay Ay Ay y Ay Ay Ay Ay y y Ay \y Ay \y \y Ay Ay AV \y y 

rV Xa Xa^Xa Xa XV A Xa Xa Xa Xa Xa XsXa Xa A A A Xa Xa A A 

»#•»»*#*##•##* • #»*#•#< 

y Ay Ay Ay V Ay Ay AX Ay V Ay Ay Ay Ay V Ay 1 / AX Ay V Ay Ay 

rV XV Xa Xa X % Xa XV_Xa A X' X\ Xa X\ A X x Xa /\/\ A X x X\ A 

• tilt # • § i • •#•#•##•#§ t 

y V y V yA/ A/ ax y Ay y y Ay Ay Ay Ay%y Ay %y \y Ay y 

A A A A X^ A A A A A Xa f\/\ /% Xi A AAA Xa_A* 

• • • • •• • • • • • • •••••••• • 

✓ V V V V V V V V V'/ V V V V V V V V vv V 

>A/«n•'A m/VvV jXiXv* • jX 

y \> \> \ > w 4 / y v - \y V \> y \* \j> V V V \ > «/ y 

^V Xa Xv A A XV XV Xa a a X\ Xa Xa A A A /V Xv A X Xa yA 

• • fit t t t.t t • f ^ f • • f •; t # t 

y A> Ay y y y y y A> \y y y Ay y Ay y y V> Ay Ay y Ay 

A XV Xv^Xv Xv A A X* Xa XaXV XV Xa^Xa Xa A XV Xa XV XaXV A 

AVvVvvWvWvVyWvVyVv 

'•WiWm;MYmYr*V«Yi 

X Ay \y \y \y Ay w Ay Ay Ay y y Ay y Ay Ay y Ay Ay Ay y y 

\ Xa A XV A XV Xa A X% AXV Xa X* Xa A X\ A A A A XV A 

vv V WvVy vVvVVv'yVvVvV 

yV*.* •. ». ^ i 

/ V V V V V V V V V '/ V V V \x V V V v V V v 

A Xa Xa A A A X* Xa A A Xa Xa^Xa X% A XV Xa Xa A X* A A 

• • r • • # • 

/ w V V V v v V V '/V V V V V’/"/ V V Vi/ v 

A A AVv A A A Xa Xa A A A Xa 


